Esse estudo apresenta a proposta de uma reconstrução metodológica da obra de Florian W. Znaniecki, intelectual polonês, com a finalidade de evitar a ocorrência de ecletismo metodológico em estudos de sociologia comparada. Nesse sentido, argumentamos em favor da forte presença dos fundamentos metodológicos propostos por Henri Poincaré na obra de Znaniecki, devendo ser um fato não negligenciável em análises de sua obra. / This study presents a proposal for methodological reconstruction of the work of Florian W. Znaniecki, Polish scholar, with the purpose of preventing the occurrence of methodological eclecticism in comparative sociological studies. In this sense, we argued in favor of the strong presence of methodological foundations proposed by Henri Poincaré in the work of Znaniecki, which shouldnt be a negligible fact in future analyses of his work.

Esse estudo apresenta a proposta de uma reconstrução metodológica da obra de Florian W. Znaniecki, intelectual polonês, com a finalidade de evitar a ocorrência de ecletismo metodológico em estudos de sociologia comparada. Nesse sentido, argumentamos em favor da forte presença dos fundamentos metodológicos propostos por Henri Poincaré na obra de Znaniecki, devendo ser um fato não negligenciável em análises de sua obra. / This study presents a proposal for methodological reconstruction of the work of Florian W. Znaniecki, Polish scholar, with the purpose of preventing the occurrence of methodological eclecticism in comparative sociological studies. In this sense, we argued in favor of the strong presence of methodological foundations proposed by Henri Poincaré in the work of Znaniecki, which shouldnt be a negligible fact in future analyses of his work.

The thesis presents an edition of lettres by writer Jakub Deml (1878-1961) with his long- standing friend, priest Vladimír Evermod Balcárek (1885-1974). Their mutual correspondence from 1905 to 1959 on the one hand records a lot of events from poet's private life, on the other hand it is a source for deeper understanding of his works. The edition is completed by editorial comment, list of correspondence, name index and explanatory notes which purpose is to clearif further circumstances of the mentioned events. Additonal comments try to introduce the personality of addressee, Vladimír Evermod Balcárek and the two most dramatic events which are mentioned in the lettres. Key words correspondence - Jakub Deml - Vladimír Evermod Balcárek - Eliška Wiesenbergerová - Josef Florian - Otokar Březina - Roman Catholic Church

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No. of bitstreams: 1 TESE_ANA PAULA DA SILVA.pdf: 2482788 bytes, checksum: 360c31c647f942a1bfdb12fc302ad3d5 (MD5) Previous issue date: 2018-03-27 / Conselho Nacional de Pesquisa e Desenvolvimento Cient?fico e Tecnol?gico - CNPq / This thesis deals with the production and perception of voiceless sibilant fricatives [s] and [?] in syllable onset and coda in the varieties of Brazilian Portuguese spoken in Porto Alegre/RS and Florian?polis/SC under the perspective of Sociophonetics (FOULKES, DOCHERTY, 2006; FOULKES; SCOBBIE; WATT, 2010; THOMAS, 2011). This research aims: i) to provide the acoustic description of the sibilant fricatives produced in Porto Alegre/RS and Florian?polis/SC in onset and coda; ii) to investigate the effects of the linguistic bias (contrastive and non-contrastive function of sibilant fricatives) on the phonetic perception of sibilant fricatives in onset and coda; and iii) to investigate the effects of the cognitive bias on the perception of phonetic variation of sibilant fricatives in coda. The corpus of this study consists of two samples of production data, one referring to data from 16 informants from Florian?polis and another sample referring to data from 24 informants from Porto Alegre. Regarding the perception data, the sample collected in Florian?polis consists of 30 participants, while the sample collected in Porto Alegre consists of 10 participants. The acoustic analysis of the sibilant fricatives partially confirmed the predicted coarticulatory effects of the surrounding vowel contexts and the effects of syllable stress on the spectral characterization of the sibilant fricatives, except for the vowels [u] and [o] preceding the fricative sibilant in coda and the unstressed pretonic syllable in the case of the alveolar fricative in onset. It seems that the variability of the phonetic production correlates with the gender of the speakers in the two cases indicated. The gender of the speakers also seems to interfere in the production of the alveolar fricative in onset by more educated people from Porto Alegre, with men tending to increase the Centroid, while women tend to reduce it. The temporal parameter examined showed a constant effect, namely the increase of frequencies as a function of the duration of the sibilants in onset and coda. The increase in frequencies due to the monitored speech style has also been confirmed and it is suggested to be an articulatory behavior associated specifically to women. Concerning the analysis of perception data, contrast and noncontrast relations of sibilant fricatives do affect the perception of men and women from Florian?polis and men from Porto Alegre, but not in the perception of women from Porto Alegre. Regarding the perception of phonetic variation, the results suggest that automatic associations between the stereotype of native/local resident and the palatoalveolar fricative in Florian?polis and the association between the stereotype of portoalegrense and the alveolar fricative in Porto Alegre are activated during perception. Moreover, the implicit association tends to become stronger as participants overtly report a greater difference between alveolar and palato-alveolar stimuli. However, the fact that some participants associate this difference to linguistic aspects other than the sibilant fricative in coda shows that the perception of socially structured phonetic variation occurs unconsciously. It is therefore concluded that the production of voiceless sibilant fricatives in Brazilian Portuguese is phonetically gradient and varies according to the gender of the speakers and that the perception of these sounds is mediated by linguistic and cognitive biases. / Esta tese trata da produ??o e percep??o das fricativas sibilantes n?o-vozeadas [s] e [?] em ataque e coda sil?bica nas variedades de portugu?s brasileiro faladas em Porto Alegre/RS e Florian?polis/SC sob a perspectiva da Sociofon?tica (FOULKES; DOCHERTY, 2006; FOULKES; SCOBBIE; WATT, 2010; THOMAS, 2011). A pesquisa teve como objetivos: i) realizar a descri??o ac?stica das fricativas sibilantes produzidas em Porto Alegre/RS e Florian?polis/SC em ataque e coda sil?bica; ii) investigar os efeitos do vi?s lingu?stico (fun??o contrastiva e n?o-contrastiva das fricativas sibilantes) sobre a percep??o fon?tica das fricativas sibilantes em ataque e coda sil?bica; e iii) investigar os efeitos do vi?s cognitivo sobre a percep??o da varia??o fon?tica das fricativas sibilantes em coda sil?bica. O corpus deste estudo contou com duas amostras de dados de produ??o, a saber, uma amostra referente a dados de 16 informantes florianopolitanos e outra amostra referente a dados de 24 informantes porto-alegrenses. Quanto aos dados de percep??o, a amostra florianopolitana ? constitu?da por 30 participantes, ao passo que a amostra portoalegrense conta com 10 participantes. A an?lise ac?stica das fricativas sibilantes confirmou parcialmente os efeitos coarticulat?rios dos contextos voc?licos circundantes e da tonicidade sobre a caracteriza??o espectral das fricativas sibilantes, exceto pelas vogais [u] e [o] em contexto precedente ? sibilante em coda e pela tonicidade pret?nica no caso da fricativa alveolar em ataque. Ao que parece, a produ??o fon?tica vari?vel se correlaciona com o g?nero dos falantes nos dois casos indicados. O g?nero dos falantes tamb?m parece interferir na produ??o da fricativa alveolar em ataque pelos porto-alegrenses que possuem n?vel Superior de escolaridade, sendo que os homens tendem a aumentar o Centroide, enquanto as mulheres tendem a reduzi-lo. O par?metro temporal examinado apresentou um efeito constante, a saber, o aumento das frequ?ncias em fun??o da dura??o das sibilantes em ataque e coda. O aumento das frequ?ncias em fun??o do estilo de fala monitorado tamb?m se confirmou e sugere se tratar de um comportamento articulat?rio associado especificamente ?s mulheres. No que diz respeito ? an?lise dos dados de percep??o, as rela??es de contraste e de n?o-contraste das fricativas sibilantes de fato interferem na percep??o dos homens e mulheres florianopolitanos e dos homens portoalegrenses, mas n?o na percep??o das mulheres porto-alegrenses. Em rela??o ? percep??o da varia??o fon?tica, os resultados sugerem que associa??es autom?ticas entre o estere?tipo de morador nativo e a fricativa palato-alveolar em FLN e entre o estere?tipo de porto-alegrense e a fricativa alveolar em POA s?o ativadas durante a percep??o. Mais do que isso, a associa??o impl?cita tende a se tornar mais forte conforme os participantes reportam explicitamente uma diferen?a maior entre os est?mulos alveolar e palato-alveolar. Todavia, o fato de que alguns participantes relacionam essa diferen?a a outros aspectos lingu?sticos que n?o ? fricativa sibilante em coda evidencia que a percep??o da varia??o fon?tica socialmente estruturada ocorre de modo inconsciente. Conclui-se, portanto, que a produ??o das fricativas sibilantes n?o-vozeadas do portugu?s brasileiro ? foneticamente gradiente e varia em fun??o do g?nero dos falantes e que a percep??o desses sons ? mediada por vieses lingu?sticos e cognitivos.

The thesis contains an annotated edition of the letters of Jakub Deml (1878-1961) of his long- time friend and writer Jaroslav Durych (1886-1962). More than 150 letters and dozens of postcards document the relationship between the two writers in two periods (years 1906-1909 and 1916-1959). The first era of correspondence documents their translation cooperation and own production and views on contemporary literary and social conditions as well. The literary studies connected to the edition also describes two major differences between these creators. In the second period was the most intense correspondence in the twenties of the 20th century. The authors worked closely together and share in the correspondence also events of their personal lives. In 1931 My testimony about Otokar Březina caused a split among friends. Then the correspondence has never fully restored. The dispute was then moved to the pages of periodicals and books, about which one of the chapters of the study inform. The edition is accompanied by editorial comment, an inventory sheet, an index of names and explanations, in which the reader reads some of Durych's reactions and learn other relevant circumstances correspondence.

The Castle Fortress of Florian Gryspek of Griesbach in Kaceřov The thesis is focused on the fortification of the Renaissance chateau and its inclusion into the cultural and historical context. The theme is follow up of author's previous thesis which was focus on the architecture and history of Kaceřov. It was described the bastion fortification based on the iconographic documentation. A separate part of the thesis was focused on present form fortifications. There were summarized the possible reasons why Florian Griespek invested into the extensive defense of the representative residence. The author linked the modernization of fortifications in middle Europe with Turkish raids (first half of the 16th century). The author is trying to do fully recapitulation of the historical development of the bastion fortification in Italy and the gradual transformation of individual component into Central Europe after summarizing the literature. It was paid attention to military architects and their literary activity. Based on the Renaissance literature the author focused on the fortifications of Sebastiano Serlio and Francesco di Giorgio, who published the Trattato di architettura civile e militare (after 1482). There were new developments in fortress construction at the end of the late Gothic. The desire for innovation...

La seconde moitié du XVIIIe siècle est une période de recherche et d’expérimentation dramatiques qui se traduisent, au sein de la programmation du théâtre de la Comédie-Italienne de Paris, en la conception d’une soixantaine de canevas italiens inédits, mis en scène par les acteurs-auteurs de la troupe italienne du théâtre, entre 1760 et 1779, année de la « suppression » du genre italien. À travers le dépouillement des sources périodiques, contenant les résumés des soirées et les récits des performances, des registres du théâtre, ouvrant l’accès aux effectifs des troupes, cette thèse propose la reconstitution du répertoire de pièces italiennes d’acteur et l’étude de la dramaturgie de ce spectacle parisien durant la seconde moitié du XVIIIe siècle. À partir des années 1760, la pratique de la scène, les modalités créatives et représentatives de la commedia dell’arte migrent vers les dramaturgies adjacentes à l’intérieur d’un répertoire mixte, français et italien, en donnant lieu à des phénomènes d’« hybridation » permettant de pérenniser la dramaturgie italienne et la « pratique » scénique des comédiens italiens, à l’intérieur des comédies des dramaturges français qui écrivent pour ce théâtre : J.-F. Cailhava de l’Estandoux et de J.-P. Claris de Florian. Il sera donc question de relire la « suppression » du genre italien en 1779, en les termes d’une « réexistence », en étudiant la portée globale du répertoire et de la dramaturgie italienne du point de vue de leur évolution, durant la seconde moitié du XVIIIe siècle, au sein du contexte productif et de la palette représentative de la Comédie-Italienne. / The second half of the eighteenth century represents a period of research and experimentation in dramatics that manifest themselves, within the theater’s programs of the Comédie-Italienne. These experimentations materialize in approximately sixty unpublished Italian plots, directed by the actors-authors of the Italian company between 1760 and 1779, year of the “suppression” of the Italian genre. Sorting through periodical sources, that include summaries of the evening performances and performances’s telling, and theater’s registers, which give the access to the acting company, this thesis intends to recreate the company’s repertoire of Italian plays. The intention is also to study the dramatic art of this Parisian show during the second half of the eighteenth century. From the 1760s, the experience of the stage, the creative and representative modalities of the commedia dell’arte slide towards closed dramaturgies inside a mixed repertoire French and Italian. It generates “hybrid” phenomena that give the possibility to preserve the Italian dramatic art and the scenic “technique” of the Italian comic actors, within the plays of French playwrights who have written for this theater: J.-F. Cailhava de l’Estandoux et de J.-P. Claris de Florian. This thesis will provide a rereading of the “suppression” of the Italian genre in 1779, in terms of “rebirth”. Then it will analyze the complete impact of the Italian repertoire and the dramatic art inside the productive context and the representative range of the Comédie-Italienne from the outlook of their evolution during the second half of the eighteenth century. / La seconda metà del XVIII secolo è un periodo di ricerca e sperimentazione drammatica che sfociano,nell’ambito della programmazione del teatro della Comédie-Italienne di Parigi, nella creazione di unasessantina di canovacci italiani inediti allestiti e rappresentati dagli attori-autori della compagnia italiana delteatro, tra il 1760 e il 1779, anno della « soppressione » del genere italiano. Attraverso lo spoglio delle fontiperiodiche, che contengono i riassunti degli spettacoli e i resoconti delle performance attoriali, le ricerched’archivio effettuate nei registri del teatro, che permettono di accedere agli effettivi delle troupes, la tesipropone la ricostituzione del repertorio italiano e lo studio della drammaturgia di questo teatro parigino dellaseconda metà del Settecento. A partire dal 1760 la pratica scenica, le modalità compositive e rappresentativedella commedia dell’arte migrano verso le forme drammaturgiche ad essa vicine all’interno di un repertoriobilingue, francese e italiano dando luogo a fenomeni di « ibridazione » che permettono la fissazione delladrammaturgia italiana e della pratica teatrale degli attori italiani, nella produzione francese degli autori checompogono per questo teatro : J.-F. Cailhava de l’Estandoux e J.-P. Claris de Florian. Lo studio dell’ampiezzadel repertorio e della drammaturgia italiana, considerati dal punto di vista dell’evoluzione che subiscono inseno al contesto produttivo e all’offerta rappresentativa della Comédie-Italienne, permette di rileggere la« soppressione » del genere italiano avvenuta nel 1779 come « riesistenza » e « perennizzazione » di questogenere. / Die zweite Hälfte des 18. Jahrhunderts ist eine von dramaturgischer Forschung und Experimentierfreudigkeitgeprägte Periode, was sich in den Jahren 1760 bis 1779, Jahr der ‚Abschaffung’ des italienischen Genres,innerhalb des Programms des Pariser Theaters Comédie Italienne in der Konzeption von ungefähr 60unveröffentlichten neuen italienischen Kanevas, die von Schauspieler-Autoren der italienischen Truppe desTheaters inszeniert wurden, ausdrückt. Durch die Aufarbeitung publizistischer Quellen, die neben Kritikenund Inhalten dieser Abende auch Theaterregister beinhalten, und somit einen Zugang zum Personalbestandder Truppe eröffnen, wird in der vorliegenden Dissertation eine Rekonstruktion des Repertoires deritalienischen Schauspielerstücke sowie die Untersuchung der Dramaturgie dieser Pariser Vorstellungen derzweiten Hälfte des 18. Jahrhunderts vorgenommen. Ab den 1760er Jahren verlagern sich die Szenenpraxis,die kreativen und repräsentativen Modalitäten der commedia dell’arte hin zu benachbarten Dramaturgieneines gemischten, französisch und italienischen Repertoires hin und machen Platz für hybride Phänomene,was erlaubt, die italienische Dramaturgie und die Bühnenpraxis der italienischen Schauspieler innerhalb derKomödien französischer Dramaturgen, die für dieses Theater schreiben (J.-F. Cailhava de l’Estandoux und J.-P. Claris de Florian), zu einem festen Bestandteil zu machen. Es geht also darum, die „Abschaffung“ desitalienischen Genres 1779 hinsichtlich einer „Reexistenz“ noch einmal zu überdenken, indem man denglobalen Beitrag von „italienischem“ Repertoire und „italienischer“ Dramaturgie aus Sicht ihrer Entwicklungin der zweiten Hälfte des 18. Jahrhunderts im Kontext der Produktion und der Darstellungspalette derComédie Italienne untersucht.

Title: The Letters of Jakub Deml to Josef Florian Author: Igor Pejchal <igor.pejchal@seznam.cz> Department: Institute of Czech Literature and Literary Theory Thesis Supervisor: Mgr. Daniela Iwashita, Ph.D. <daniela.iwashita@gmail.com> Key Words: correspondence, Jakub Deml, Josef Florian, Josef Ševčík, Otokar Březina, František Bílek, Pavla Kytlicová, Curia of Brno, Studium edition Abstract: The diploma thesis named The Letters of Jakub Deml to Josef Florian includes the edition of all the letters of the writer Jakub Deml (1878-1961). The correspondence from 1903 to 1935 includes 346 units and exploits 6 sources: the copies of letters done by Jaroslav Staněk, handwritten letters archived in Moravian Museum in Brno and LA PNP, Prague, letters addressed to Josef Florian as edited by Jiří Olič and hand-written originals possessed by two private owners. The edition of the collected letters is accompanied by a list of letters, an editorial note and translations of excerpts which are not in Czech. An accompanying study deals with the editorial history of these collected letters, the relationship of Jakup Deml and Josef Florian in the time of their collaboration and provides an outline of the future research tasks regarding this edition. The letters of Jakub Deml to Josef Florian are published in print in...

Cette thèse porte sur la carrière musicale de Joseph Kohaut (1734–1777), l’un des derniers luthistes dans l’Europe des Lumières. Appartenant à la deuxième génération des musiciens originaires des pays de la couronne de Bohême, ce luthiste, né à Vienne et décédé à Paris, représente un cas intéressant de la migration des musiciens au XVIIIe siècle. L’étude se consacre à la présentation des origines et de la famille proche du musicien (son père Jacob Joseph Kohaut et son frère aîné Karl Kohaut), ainsi qu’à la carrière musicale du luthiste proprement dite. Le patronage aristocratique s’y révèle le moteur principal aussi pour son œuvre, y compris ses opéras comiques qui contribuèrent à la notoriété de Kohaut également en déhors de la France. Enfin, cette étude traite les œuvres des deux frères Kohaut en s’intéressant aux attributions douteuses et propose un catalogue thématique du corpus entier indexant toutes les sources connues. / This thesis focuses on the musical career of Joseph Kohaut (1734–1777), one of the last known lute players in Europe of the Enlightenment. Belonging to the second generation of the musicians originated from the Czech lands, this lutenist, born in Vienna and dead in Paris, represents an interesting case of the migration of musicians in the 18th century Europe. After having examinated the origines of the musician and his close family (his father Jacob Joseph Kohaut and his older brother Karl Kohaut), the study analyses his own musical career. The aristocratic patronage becomes apparent as an important reason for his musical production, including his comic operas that made him famous also outside France. Finally, this study addresses the compositions of both brothers Kohaut, taking interest in problematic attributions, and offers a thematic catalogue of all works registering their all known sources.

Zugl.: Diplomarbeit.